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Because the personal narrative at the heart of most Girls songs is so twisted and inaccessible --
Owens grew up in a cult and escaped into drugs and punk rock as a teenager -- it's amazing that this
music is so perfect for hand-holding. Christopher Owens is no James Taylor, of course, but there's no
denying the easygoing, almost romantic side of his oeuvre.

That's why this year's plan is both risky and exciting from a business perspective. All other
things
held constant, Pitchfork could easily raise prices, since it has clearly been selling at a price lower than the
point at which the demand and supply curves meet. However, unlike Coachella and Bonnaroo, which
rely primarily on their lineups and pricing to drive brand value, the Pitchfork Music Festival's brand also
gains tremendous value from Pitchfork's core offerings. So the levers it can pull are
more varied. Essentially, Pitchfork has the unique privilege of choosing to hold price, but
nothing else, constant.

A really interesting effect of the Creators Project format is that the broad focus on
technology and art (the music pavilion accounted for only about 25 percent of the event's total footprint) freed
the musicians to focus on performance rather than spectacle. After all, it’s nearly impossible to
compete with the building-size interactive light-and-sound rendering of Origin by United
Visual Artists. The Creators
Project will hopefully continue to add smaller cities like San Francisco to its world tour of art, technology
and innovation.